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>From: "Chris Cagle" <[log in to unmask]>
>Subject: CFP: European Cinema in America (8/8/06; SCMS, 3/8/07-3/11/07)
>
>Panel Proposal for 2007 Society for Cinema and Media Studies Conference
>Chicago, March 8-11, 2007
>
>European Cinema in Postwar America
>Organizers, Karl Schoonover and Chris Cagle
>
>Increasingly, film historical scholarship argues against conceiving
>of national cinemas as self-contained entities, focusing instead on
>transnational influence and international imbrication. This panel
>aims to juxtapose and unite different approaches to understanding the
>industrial, social and political impact of European cinema on U.S.
>movie-going and filmmaking from roughly 1945 to 1965. It is broadly
>accepted that the distribution of European films in the United States
>at the end of the Second World War heralded a new era of interest in
>international cinema here, but beyond box office how do we measure
>the influence of these imports upon the social field of American
>cinema?
>
>We invite approaches to this problem. Papers may be readings of
>individual texts or directors or may offer broader studies of genres,
>national cinemas or industrial practices. Ideally, panel participants
>will use the textual and historical studies to touch on broader
>theoretical issues, though the avenues of inquiry are open. Such
>issues may include, but are not limited to, the following:
>
>- Hollywood imitations of European genres, styles and movements
>(Neorealism, the Rank - Studios "quality" film, French New Wave,
>kitchen sink drama, the exploitation-art film)
>- Effects of the American market on European films and production
>- Distributor or exhibitor marketing practices
>- Art cinema as place: exhibitor strategies or local film cultures
>- Co-production as an industrial practice before 1965
>- The relation between art cinema and "low" genres
>- The place of imported films or foreign production companies in the
>U.S. film industry
>- National quotas, trade policy, or international regulation
>- Cosmopolitan taste and the rise of the critic
>- Stateside discursive or industrial conception of "Europeanness"
>
>By contributing to the growing historiography that attends to the
>industrial and aesthetic details of this transatlantic exchange, we
>aim to revisit and interrogate the social and political assumptions
>that accompany the concept of art cinema.  We hope to enrich our
>understanding of a period of transnational influence that is often
>acknowledged but rarely explored in depth.
>
>Send a brief abstract or any queries to Chris Cagle
>([log in to unmask]). DEADLINE FOR ABSTRACTS:  August 8.
>

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